Bride Drawings and Watercolor Paintings

Il disegno in questione rappresenta una figura figura femminile nuda in piedi con le braccia alzate, in una posa solenne come fiero è il suo sguardo, ai cui piedi sta sdraiata una fi...

Questo piccolo disegno, che per gli evidenti stilemi neoclassici può essere datato fra la fine del XVIII e gli inizi del XIX secolo, rappresenta la fuga del re Giacomo II Stuart-ulti...

QUIRIJN VAN TIEL Rotterdam 1900-1967 Rhoon Two birds 1966 Gouache on paper 39,5 x 48 cm. Signed and dated: lower right ‘Quirijn 66’ Provenance: Private collection, the Netherlands...

Colour pencil on Canson 300 g/m2 paper.

Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Sweden. This is how she writes about the drawing: When it comes to purchasing a blanket, many of us are drawn to the timeless appeal of a plaid pattern, which is often present in abstract art. Have you ever wondered why this particular design is so popular? I must admit, I don't have the answer. However, picture this: two individuals lying on a checkered...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

Graphite on paper Image size: 12 1/4 x 8 inches (31 x 20.25 cm) Hand made contemporary style frame This is a wonderful self portrait that captures the artist as she stares, unafraid...

Pencil and chalk on paper Image size: 8 1/2 x 13 inches (22 x 33cm) This wonderful drawing depicts 'The Cleansing of the Temple', a biblical narrative where Christ expels merchants...

Trajan Wallis (1794 Florence - 1892 ): Study of a robe on a female figure in back view, 19th century, Pencil Technique: White heightened Pencil on Paper Date: 19th century Description: Watermark: Shield of arms with initials "AGC Provenance: From the estate of the artist. Verso: numbered: 26"" Keywords: Back view, female garment, drapery, academy study, garment study, antique garment...

This work was part of "Body Politics", the August/September 2022 exhibition marked the debut of this work in the region (New Orleans), and the first time any of these works have been...

Sir William Russell Flint, R.A., P.R.W.S.1880-1969 Scottish A Study of Two Models Signed "WRussell Flint" (bottom right) Ethereal and sen...

Acrylics / spray paint on canvas

This drawing represents a lateral view over the Cathedral of Koln that doesn't want to be a faithfull copy from real but It's pervaded with a nostalgic and decadent feeling proper of...

Acrylic on canvas

This drawing (pencil on paper, 37.5 x 24 cm) is an Academia (a common study during the Academy lesson on the 19th century) based on an antique subject. It represents a naked young ma...

Acrylic on canvas

Graphite on paper Image size: 11 ¾ x 8 ½ inches (30 x 21.5 cm) Original frame This superbly-drawn portrait highlights the artist’s undeniable skill as a portrait artist, particularl...

Franz Rogler (1921 -1994) studied wood and stone sculpture with Wilhelm Gösser at the Graz School of Applied Arts and attended the master class for painting with Rudolf Szyszkowitz. During his studies he was drafted for military service and, together with fellow artist Hans Fronius, was deployed as a war painter in Austria, Germany, Italy, the former Yugoslavia, Greece and Russia. During this time he completed studies at the Academy in Zagreb and organised exhibitions in Austria. In 1944 he deserted and managed to escape to Switzerland, where he settled in Basel after his internment and came into contact with the Swiss Surrealists of "Group 33" and with the artists Hans Arp, Max Ernst and Meret Oppenheim through his friend Regula Weilenmann. After the end of the war, he studied at the Basel Art School with Walter Bodmer and Heinrich Müller, which introduced him to Constructivist art. In 1947 Rogler returned to Graz and became a member of the Graz Secession. From 1948 to 1950 he studied at the Vienna Academy with Albert Paris Gütersloh, before returning to Graz as a freelance artist in 1950. In 1953 he received the Art Prize of the City of Graz and his works were published in the first issue of the "Surrealist Publications" edited by Edgar Jené and Paul Celan...

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

If people don't swat you . . . then something else happens." Illustration for Blechman's popular book Franklin the Fly (Mankato, MN: Creative Editions, 2007). Watercolor, pen and ink...

This drawing by Léon Bonnat, the greatest portrait painter of the Third Republic, shows a woman of indeterminate age, caught in a melancholic pose. 1. Léo...

Medium: Pen and Ink on Board Signature: Signed Lower Left Story Illustration- Life Magazine ca. 1915 Seated Man in dressing gown pulling on maid's apron

Medium: Watercolor and Graphite on Illustration Board Signature: Unsigned, Christies Stamp Verso. In silver molded frame, french-lined mat, glazed. OS: 18 1/2" x 22", SS: 11" x 15". Shinn took over from Joseph Urban as the Art Director on the William Randolph Hearst's Cosmopolitan Pictures film, shot in New York City and Tarrytown, NY. Directed by E. Mason Hopper, starring Marion Davies...

Medium: Charcoal on Paper Signature: Signed Lower Right Illustration from The Saturday Evening Post

Years of collecting books, travel archives and studying art in Europe, went hand in hand with visiting historical monuments and grand palaces, remnan...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...

Medium: Mixed Media on Paperboard Signature: Unsigned This piece was an advertisement for Lowney's Crest Chocolates. Edward Nudelman, Jessie Willcox Smith expert and biographer describes Merry Christmas: Two Children Before the Fireplace, “A wonderful mixed media painting by Jessie Willcox Smith, published as an advertisement for Lowney's Crest Chocolates, reminiscent of her paintings for Twas the Night...

Medium: Charcoal, White Pastel on Canson MiTientes Paper Signature: Signed Lower Right Dimensions: 25.00" x 19.00" Unframed

Medium: Gouache and Ink on Paper Dimensions: 17.50" x 10.75" Signature: Signed Lower Right

Medium: Charcoal on Board, Framed Under Glass Signature: Signed and Dated on the Back Sight Size 30.50" x 20.50," Framed 35.50" x 26.50" Great condition, bad glare from glass in thi...

Medium: Pen and Ink on Illustration Board Signature: Signed Upper Right On 20.00" x 13.00" illustration board with an image that measure to 14.00" x 10.00." Illustration includes blue to indicate halftone. Caricature by George Wachstster (1911-2006) of Female Impersonator T.C. Jones on Broadway in `Mask and Gown` at the Golden Theatre. Ran 9/10-10/12/1957. Jones impersonated Bette Davis, Tallulah Bankhead, Mae West, Judy Holliday, Marilyn Monroe, Katharine Hepburn and Ethel Merman...

Date: 1919 Medium: Charcoal on Board Signature: Signed Lower Left Dimensions: 15.20" x 18.50" "The Vanishing Men," November 29, 1919.

Signed Lower Right Saturday Evening Post Story Illustration

Signed Lower Left

Signature: Signed with the Artist's Initials J.W.S. (Lower Right) Medium: Ink and Gouache on Paperboard

Medium: Pastel on Paper Dimensions: 24.00" x 15.00" Signature: Signed Lower Right "His Rise to Power" Novel by Henry Russell Miller

Fabry's captures the hight of elegance in his loose style. Conte crayon, watercolor on watercolor paper Signed lower right Private collection Other works by this artist: ca. 1940 - ...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: A Couple in Architectural Cityscape, circa 1930's Technique: Original Signed Ink Drawing on paper size: 29.5 x 2...

Date: 1910 Medium: Charcoal on Board Dimensions: 25.00" x 35.50" Signature: Signed Lower Right John Newton Howitt (1885-1958), a graduate of the Art Students League (other gra...

Medium: Pen and Ink, Comp Color Overlay on Board Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004), for `The Wonderful World of Little Julius`, a Thanksgiving-themed presentation starring Eddie Hodges (c), Sam Levene (l) & Gregory Ratoff (r). Aired as part of `Shulton Holiday Playhouse`, a limited-run half-hour series made up of unsold pilots, syndicated on 97 U.S. markets in prime time, sponsored by Old Spice...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Study for Sculpture of Nude Woman Balancing Baby, 1949, by Chaim Gross (1902-1991) Ink on paper 10 ½ x 7 ½ inches unframed (26.67 x 19.05 cm) 1...

Medium: Watercolor and Pencil on Board Sight Size 11.00" x 15.00", Framed 17.50" x 20.50" Signature: Signed Lower Left Sunday In Old Catskill, Harper's New Monthly magazine story il...

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Medium: Pen and Ink on Illustration Board Signature: Signed Lower Right Drawing by George Wachsteter (1911-2004) for 1948 Broadway revival of `Jerome Kern and Oscar Hammerstein II`s Show Boat`, starring Billy House as Cap`n Andy Hawks and Carol Bruce as Julie Dozier, City Center Theatre, directed by Hassard Short, produced by Richard Rodgers...

Medium: Pen & Ink, Watercolor Onionskin Overlay on Board Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for `The Dick Powell Show`, used as cover for The ...

Medium: Charcoal and White Pastel on Canson MiTientes paper Signature: Signed Lower Right Dimensions: 25.00" x 19.00" Unframed

Medium: Graphite Pencil on Paper Signature: Signed Lower Right A pin-up study

Medium: Pen & Ink, (2) Color Comps on Illustration Board Signature: Unsigned, Lower Left and Lower Right This piece is on 15.00" x 20.00" illustration board, with an image that measures to 14.00" x 9.50." Includes two different color versions in watercolor on board, preliminary sketch. Includes original copies of the magazine. (3) Versions Caricatures by George Wachsteter (1911-2004) of Shirley Booth...

Medium: Pen and Ink on Paper Signature: Unsigned Titled in pencil and inscribed "Blue print-Rush-/March" beneath the composition, identified in a printed label affixed to the frame ...

This work is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Floral Still Life), ca. 1940s, watercolor on paper, signed lower left, 10 x 13 inches (i...

"Reticent" by Rick Sindt is a small graphite drawing of two figures. This deceptively simple drawing is very powerful in its beauty and intimacy. The graph lines often used by arti...

The Scribe is an original Modern artwork realized in the first decades of the XIX Century. Original Ink and Watercolor on paper. Mint conditions. Beaut...

French Figures by Bernard Labbe (French mid 20th century) original gouache on card size: 19.5 x 13 inches condition: very good and ready to be enjoyed ...

This beautiful portrait by British artist William Drummond (act.1800-1860) depicts two sisters within an interior. It’s a charming glimpse into the lives of these young women. Dress...

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

Attributed to Francesco PENNI (1488 – 1528) Study for a fresco Pen and brown ink, brown wash heightened with white on prepared paper 14 x 12 cm On the mount, handwriting inscriptio...